This research has demonstrated how artistic practice can become an open and fluid space of experimentation, capable of embracing unpredictability as an essential component of the creative process. Water, pigments, porous materials, and atmospheric agents have emerged not merely as technical tools or passive means, but as true co-authors of the work — active participants within a continuous relational dynamic between human gesture and natural forces.
The exploration of clinamen as a principle of deviation and freedom has challenged the notion of absolute control over image and matter, allowing instead for the emergence of the unexpected, of error, and of the possible. In line with Epicurean philosophy and contemporary chaos theories, chance within the artistic process is no longer perceived as a disturbance to be avoided, but rather as an opportunity to open new trajectories and new configurations of the visible.
Gravity, flows, the movement of water, the weight of stones, and atmospheric temperature all contribute to constructing a context of forces that intersect, attract, and repel one another — generating ever-changing, unique, and unrepeatable forms.
In this perspective, the artistic gesture is redefined as a practice of listening, observation, and mediation — a practice capable of rendering visible the complexity of natural and cosmological phenomena, and of revealing that fragile, mutable, and potentially infinite dimension that characterizes every relationship between human beings, nature, and matter.
Thus, this research remains open-ended, acknowledging that every attempt at representation constitutes only one among an infinite number of possible combinations — a temporary fragment within a broader, continuously evolving process.
